T.O. Music Pix Newsletter #116: August 19, 2010 Click here for information on
subscribing and an index of past newsletters
A video (and dance) themed newsletter...
As many recent newsletters have largely been focused on upcoming
concerts, this one is mainly "information and entertainment" with a
lot of video links (either embedded or
highlighted in red).
There are a few event notes at the end of the newsletter, but the
events page has recently had extensive
updates.
New to the events page: numerous clubs, theatres, promoters, etc are
now linked on the page so you can easily check out their listings
directly.
There is
a thread on the late Charlie Gillett's readers forum from
last month that shows why I have always enjoyed it so much.
It starts with someone posting
a video
clip
of Bo Diddley performing on the 1965 TV show
Hollywood a Go Go. That led one writer to suggest that
historians should study "the disjunction between the happy
smiling go-go dancing, harmless teenage fun, and the earthy
low-down grinding rhythms of Bo and the band".
Another poster ("Judith") described the
evolution of rock & roll dance from the go-go dancers in the
above clip to the "hand jive" by the screaming teens in the
clip on the right (another episode of the same TV show), through the feet movements of Bo and "The Duchess",
his
backup singer/rhythm guitarist. (Check Bo & the band's
dance in the second song)
Judith then takes those dance movements up
through the early 70's
Soul
Train TV show, at which point another writer, who
frequently posts about music from Madagascar finds a real
connection between the Soul Train dancers and some southern Madagscar dancing. More dance links are made to the hula, and to
Dobet Gnahore. All with YouTube links.
It's a great and entertaining discussion that
makes links between some apparently very distinct cultures and
music's.
And since the above referenced the hand jive,
I can't let this pass without a
video clip
of the great Johnny Otis with his hit "Willie and the Hand Jive"
featuring the Three Tons of Joy.
His death recently, at the age
of 99 deservedly received significant press coverage. And while
he was indeed a major figure in American popular music for a
time in the mid-20th century, those of us who were around for
the latter part of his "prime" time of course remember him best
as the TV host of Sing Along With
Mitch, an early-60's TV show (and a series of LP under
that title) that were truly insipid.
The clip at right captures the "spirit" of the show nicely.
The man who said, "To me, the art of singing a
pop song has always been to sing it very quietly," was obviously
not one to embrace rock & roll. As head of A&R at
Columbia Records (a powerful position in those days, one which
decided who would get recorded and who would get promoted), he was the first to sign Aretha Franklin.
But it wasn't
until she left Columbia for Atlantic Records (& producer Jerry
Wexler) that she found her voice. It was probably a good thing
for music that he turned down Elvis, but although he was not
impressed with a young Bob Dylan, he apparently trusted producer
John Hammond enough to sign the folk singer. So, in recognition
of those two paths crossing, here are old and new takes on "Must
Be Santa" from
Mitch &
Dylan
And while on the topic of wholesome
old TV music shows, it's hard not to think of the Lawrence
Welk Show.
This ciip, features what Welk called "a modern spiritual"
from Gail and Dale, a fresh-faced couple, who, like Welk, perhaps
really didn't know what a "toke" was
Raising the musical bar somewhat.... For just over a year, 1956-57, Nat King Cole made
history by being the first African-American to host a TV show.
Here's one
gem of a clip
,
featuring an organ/vocal duet between Nat and
an 11 year old Billy Preston.
A slightly older -- and more active -- Billy
is
seen
here doing his big hit "That's The Way God Planned It" at
the 1970 Concert for Bangladesh. Stick around for his dancing...
The earlier dance item is just one of many references
I've made to Charlie Gillett, his website, his radio shows and
his contributions to music over many decades. As one of the
early champions of world music in the U.K., he was a regular
host/emcee at the annual WOMAD Festival. At this year's
festival, held last month, a stage was renamed in Charlie's honour.
Here is
Peter Gabriel speaking from the Charlie Gillett stage. (Photo
at right from Charlie Gillett's website)
Head's "Treat Her Right" was
one of the huge "blue-eyed soul" hits of the 1960's, selling 4
million copies. It wasn't just his singing ... Head's moves
were part of his act. And he didn't just have one set of moves...
check him
on Shindig, 1965.
Same song, different dance in
this performance. In one article, Head said his dance
moves were inspired by watching the Nicholas Brothers in the
film Stormy Weather at right. (Cab Calloway is the one bringing them
on). However, I doubt Roy ever quite managed splits like those guys!
(No less an expert than Fred Astaire reputedly called this the
best dance performance ever filmed).
Among the many who covered
Head's hit were Bruce Springsteen,
Bob Dylan
(song starts about 3:40), Mae West,
Bon Jovi,
Sammy Davis Jr. and
Tom Jones
(stick around for his dance finale. Roy Head, he wasn't... but
he tried in his own way). The fictional Irish soul band
The
Commitments also took a shot.
When I first saw the name on Hugh's Room's
list of coming events, I thought perhaps there's a band called
"Mickey Rooney". It surely couldn't be that Mickey Rooney
could it?
Yes it could, and it is.
The real one. The
"Let's put on a show, kids" one. (That's
the "title" of his Hugh's Room gig).
I'll let this bit of PR posted
on Hugh's Room's website stand on its own (And I know the club,
like others typically just posts whatever the artists'
management provides). But it is a bit of a classic:
one of the greatest song and
dance men ever, will be live on stage at Hugh's Room on
September 30, 2010. What an opportunity to see this great film
star in an intimate 200 seat setting. Mr. Rooney will be
appearing with a trio of support musicians, but we expect his
stories and personal reminiscences will make this a night not to
miss. Tickets will go quickly for this, once in a lifetime,
event so order soon to assure your spot. Remember, at Hugh's
Room they have to walk by your table to get to the stage - how
special is that!
Tickets for the Hugh's Room
gig are $90 in advance, $100 at the door. Just in case you were
interested...
But in keeping with the video & dance theme,
here is Mickey with Judy Garland dancing up a storm in "Do
the La Conga
"
from Strike Up the Band, a 1940
film directed by
the great Busby Berkeley.
Don't leave the clip too soon. Wait till
Mickey takes over the drumming, and Busby's choreography takes
off.
The movie had some significance in the annals
of American/Cuban music, as recounted in Ned Sublette's thorough
account of Cuban music Cuba and its Music: From the First
Drums to the Mambo, Volume 1. He notes the origins of the
conga dance in the U.S., and the role played by
bandleader/singer Desi Arnaz whose Miami Beach club La Conga
helped fuel a conga craze in the U.S. Sublette writes that
pianist Bebo Valdés recalled decades later that after the film
played Havana theatres, "not a dance ended without a conga from
then until I left the country [in 1960]."
The last
newsletter noted some (unconfirmed) references to Malian singer
Khaira Arby playing at the Ashkenaz Festival at Harbourfront on
Labour Day weekend. I understand her visa situation in Canada is
not yet settled, so nothing is definite yet.
She has never
played in North America before, but now that she has done a few
shows in New York City, I have been hearing great reports of her
performances... for example
this blog from Banning Eyre of Afropop Wordwide
Some video of Khaira in action on this tour:
at The Shrine, Harlem last Friday, and
(right) at the Bard
Music Festival in New York stage
I understand
that if she does play Ashekenaz, she will be playing with the
band
Sway Machinery -- in themselves an interesting-sounding
band who has played Mali's Festival in the Desert and recorded
with Arby and Vieux Farka Touré. But of
course, if she does perform with them, I also hope there's a show with her and her
terrific band.
Stern's
Music, the excellent London-based African music specialists have
just released
Africa: 50 Years of Music, an 18 CD compilation
featuring 183 artists from 38 countries across the continent.
Some of the information about the compilation:
Many of these songs are known and loved
worldwide: Pata Pata, Soul Makossa, Yeke Yeke, Sweet Mother,
Mario, Shakara, Jive Soweto. Others will be revelations to even
the most dedicated record collectors.
The deluxe longbox set includes a 60-page book
of photographs, record-cover reproductions,
specially-commissioned artwork and essays by experts on each of
Africa s popular styles. Pieces by Mark Hudson (Daily
Telegraph), Véronique Mortaigne (Le Monde), Patrick Labesse (Le
Monde), Francis Dordor (Les Inrockuptibles) Bouziane Daoudi (La
Libération), Daniel Brown, Daniel Lieuze and Leonardo da Silva (RFI,
French Radio). Anyone with serious interest in African music
will recognize this set s extraordinary value. It will be the
essential collection of African popular music for the next 50
years.
I understand Soundscapes on
College has or will have the CD this week, and will be selling
it for $89. This looks like one serious temptation!
I recommend checking out
the video
collection of Brent Radbourne who has been videotaping
world/roots concerts -- and many other Toronto events -- for
several years. Check the "Playlists" link for collections of
videos from various events.
Eliades Ochoa: Lula, Aug.
20 A last-minute reminder about the special opportunity to see
the great Cuban guitarist, Eliades Ochoa of the Buena Vista
Social Club recordings in the intimate setting of the Lula
Lounge Friday night. Earlier this year, in his first return to Toronto in
several years, he sold out two shows at the Royal Theatre.
Very highly recommended.
As noted here previously, he
has finished recording a CD for World Circuit, titled Afrocubism with four
of the greatest musicians from Mali: Djelimady Tounkara,
Bassekou Kouyaté, Toumani Diabaté, and Kassé Mady Diabaté, plus
other Cuban and African musicians. They will be touring this
fall, and are playing
Montreal on Nov. 5.
Video at right from one of the
Afrocubism's first concerts.
Havana
Cultura Festival Aug. 19-22
There's lots more Cuba in town this weekend - check the link
above for music, food, drinks, art etc. Mostly centred around
Queen W/Ossington.
This weekend also features the
Michèzo Festival,
on Toronto Island
Other There are extensive updates to the events page, including
notes on the
Small World Music Festival shows (Sep. 23-Oct 3), and notes
on some fall and spring concerts at Koerner Hall... it might be
time to consider ticket shopping.
Note that Small World is
offering a $50 pass to all 21 performances (the entire festival
except for the K'naan concert). Good only through Labour Day
weekend
a) L'Orchestra di Piazza
Vittorio The concert by the Rome-based band at Harbourfront
on August 7
was easily one of the best shows I've seen this year. A 16-piece
band, largely composed of immigrants to Italy,
their music reflected the sounds of their original
countries (including Senegal, Tunisia, Cuba, Hungary,
Argentina), but they also worked seamlessly as an orchestra... and
they put on a great performance, enjoying the night, and
showing it.
The centre-piece of their
concert was their own, very unique take on Mozart's The Magic
Flute (video link at right). I understand they should have a new CD coming
out this fall; you can also purchase a 2005, self-titled CD on
iTunes.
b): Tamsir Seck, Diblo
Dibala and some old problems with African concerts.. Later that
same night, I enjoyed Tamsir Seck's annual Senegalese
Xawaré. It was a fine show, with numerous music and dance
performances; the sabar drumming in particular was tremendous,
and there was plenty of excellent Senegalse food.
But ... one of these days...
I'm really looking forward to an African show that actually
starts close to the announced time.
The week before, Tamsir was on
the "Karibuni" radio show with Nadine McNulty, insisting (despite
Nadine's laughter) that it would really start at 9pm ("sharp").
Later that night, he told me it would really start by 10pm. (I
didn't get the "sharp"). In the end, the only surprise was that
it started as early as 11:30, although the MC, Justine Gogoua, was
motivated to issue an apology for the delay.
In a similar vein, there had
been much publicity about the return to Toronto of Congolese
soukous guitarist Diblo Dibala. He was to play the newly opened
Centre Matonge club on Parliament following the close of Bana
Y'Africa on a Sunday night. (The club is owned by promoters of
Bana).
I easily convinced one friend to
see him; my friend decided to bike there from a band rehearsal
in Don Mills! He did, but there was no Diblo.
At Bana, there were
announcements from the stage about the "after party" at the club, but none
(that I heard) about the fact that Diblo cancelled, and skipped
Toronto.
As a dedicated African music
supporter and fan, I'm not expecting (or wanting) the same kind
of formal organization that some other events expect, but admit,
I do think organizers do need to think a bit more about their
audiences.
This is anything but a new
issue or observation, but I think it bears repeating now and
then...
